I’m off-air while Liam and I are perking our pansies on pretty Paxos. While we’re away, here’s a selection of photos that ended up on the cutting room floor, blog-wise. It’s an eclectic mix of random snaps – local and London – plus a really ancient polaroid of me back in the eighties on godfather duty. The babe in arms is now in his forties and his own babes in arms have reached school age. Yes, I feel really old.
It was our ‘wax’ wedding anniversary last week – sixteen years and counting. We’ve already got enough candles to light a small chapel, so they were off the gift list, and since we’re not part of the huntin’, shootin’, fishin’ set, waxed jackets were out too. So, we went for a celebratory bite instead. Our venue was the Unthank Arms, a traditional boozer in the heart of Norwich’s ‘Golden Triangle’ – a popular residential district west of the city centre. The Unthank is noted locally for top-notch pub grub, and we used to be regulars before we emigrated to the country.
As we tucked into our meal, I looked up and clocked this old enamel sign above the entrance to the loos.
I’m fairly sure the sign refers to the old 37 bus route in London. Memories of my misspent youth came flooding back. The 37 was my main ride back in the seventies when my dad ran a ‘Bottle and Basket’ convenience shop in South London, making a decent living out of booze and bread. Back then, the 37 bus plied its trade between Hounslow in the west to Dulwich in the south. I rode the 37 to school in Battersea, my Saturday job in Feltham, my youth club in Richmond and my bestie’s gaff in Clapham.
The 37 still runs but the route’s changed since my teen heyday. The iconic Routemasters, famous for their open rear platforms – just right for jumping on and off at red lights – and the (sometimes hunky) conductor and his clickety-click ticket machine, ding-ding to the driver to move on and ‘move down the bus please, plenty of room inside’ mantra have all been pensioned off, more’s the pity. These days, it’s all-electric vehicles that barely make a sound, bored-stiff drivers and bleep-bleep DIY card readers. More efficient, I’m sure, but unlike the seventies, not much of a ride.
We love a wacky musical and they don’t come much wackier than Opening Night, a brand new West End show from the pen of singer-songwriter Rufus Wainwright. Based on a 1977 film of the same name, the musical stars Sheridan Smith as an ageing has-been who’s lost her mojo and hit the bottle. It’s a familiar, well-trodden Judy and Norma theme. Despite a dedicated fanbase, Rufus Wainwright has been little troubled by commercial success. And I can see why. The score is dissonant, dense and tuneless – a torch song tale without the torch songs.
The production itself is a pretentious mess – shouty, angry and hard to follow, with bizarre staging involving TVs dotted about the auditorium and a large screen above the stage which, from where we were sitting, was largely obscured. We weren’t sure when and where to look – stage or screen – so by the second half we didn’t bother to look at all. The cast made the best of a bad lot and, come curtain call, the audience applauded politely, mostly out of pity, I thought.
Afterwards, as we piled onto the street in need of a stiff drink, Liam said, ‘Well, that was a pile of old shit’. The woman in front of us turned round and said, ‘I’m so glad you said that. It really was shit.’
We drowned our sorrows in Soho.
London is a gloriously haphazard, jumbled up kind of place where the rich and the ragged sometimes co-exist cheek by jowl. The Boltons in West London is an address for the seriously loaded, thought to be the second most expensive street* in the land – you won’t get much change out of £23 million. Famous former residents include Douglas Fairbanks Jnr, Jenny Lind and Madonna – the queen of pop that is, not of Heaven. And yet, close by is an entirely different Boltons, an imposing late-Victorian pub. It’s a building with a chequered, ever so slightly sleazy history. From the mid-fifties until the early nineties it was a gay bar. But then time was called on the boozy cruising and it was flogged off to be reborn as a faux Oirish theme pub as part of the O’Neill’s chain. Finally, it morphed into a trendy, overpriced gastropub called The Bolton. That didn’t last either. Nowadays, the boozer is down on its uppers – boarded up, forlorn and flaking; the only punters at the bar are squatters.
Back in the late seventies when I was a fresh-faced young gay-about-London Town, I sometimes drank in Boltons. It was a smoke-filled and deliciously seedy den of vice frequented by assorted ne’er-do-wells – rent boys, drunks, druggies, pimps, peddlers and petty thieves – a place to keep a tight hold of your wallet, if not your virtue. Not that I ever rented out, peddled or picked pockets, of course. It was just fun to watch the action, like feeding time at the zoo.
Now I hear that the worthy burghers of Kensington and Chelsea – the local council and my former bosses – have granted the building protected status because as Councillor Cem Kemahli said…
“The recognition of this historic pub as a listed site stands not just as a tribute to its architectural importance but also celebrates its role as a cherished hub within the LGBTQ+ community. The preservation of buildings like this one echoes our history and diverse communities in the borough.”
Blimey. It’s not that long ago when the worthy burghers were trying to get all the local gay venues closed down. From social outcasts to national treasures in just 40 years.
*the UK’s most expensive street is Kensington Palace Gardens in the same London borough, not far away from the Boltons.
We’d heard amazing things about All of Us Strangers. It’s caused quite a stir among the critics and film award aficionados, so we decided to see what all the fuss was about with a trip to Norwich’s Cinema City. Originally a wealthy merchant’s gaff, it now houses three screens, a bar and a restaurant under a vaulted stone ceiling. Membership gives us free tickets and discounted drinks so, as is our habit, we had a few sherries in the medieval great hall beforehand.
As for the film, well, it’s the most extraordinary piece of cinema I’ve seen in years. Based on the 1987 novel Strangers by Taichi Yamada, it’s a masterpiece and has been lavished with praise and awards since its release. More gongs to come, I’m sure.
So what’s it about? A passionate romance between two loners set to a glorious eighties soundtrack of the Pet Shop Boys, Frankie Goes to Hollywood and Alison Moyet? Yes, but it’s so much more than that, so much deeper. The film begins with writer Adam sitting at his desk in his fancy high-rise staring out at the night-time London skyline. What follows is an examination of profound grief where the past is knitted with the present in a hopeful attempt to find forgiveness and resolution. But is this an autobiographical screenplay Adam is struggling to write? Or a series of fantastical dream sequences? Or perhaps it’s a classic ghost story? Go see it and decide for yourself. All I can say is there wasn’t a dry eye in the house.
Andrew Scott as Adam is mesmerising. And the exquisite Paul Mescal as his sexy squeeze, Harry, hits the bullseye too. Here’s the trailer…
As an aside, Harry reminded me of a sexy squeeze of my own back in the day who introduced me to Kraftwerk’s amazing 1978 album The Man-Machine as we rolled around the floor of a South Kensington mews house. But that’s another story.
During Twixmas, one of our many nephews asked his long-term partner to marry him. His proposal was made at a surprise engagement do in London. Was he wise or foolhardy to drop to one knee in front of his nearest and dearest, ring in hand? Will she? Won’t she? Well, she burst into happy tears and said yes so there’s the answer. Relief all round to the sound of chinking and cheers. With tension eased, the party got into full swing. The young ‘uns kept their old gay uncles well-oiled with plonk and Jagerbombs. We must have looked like a pair of old drunken dowagers propped up in the corner.
We also found out that our soon-to-be niece-in-law is heavy with twins. They already have one toddler – fredelicious Freddy – so three will soon become five.
New year, new life, new hope.
I’ll leave you with London’s epic New Year’s Eve fireworks, a spectacular light show to celebrate ‘a city for all’ with a nod to some of the more positive events of 2023, including the 10th anniversary of the legalisation of same-sex marriage in England and Wales. Amen to that.
It’s Christmas so it must be pantomime time, and panto doesn’t get any more lavish and camp than the annual festive frolic at the London Palladium. Each year the show just gets bigger and better, brasher and trashier, cross-dressed in glitter, sequins and smut. Once again, all our senses were assaulted; the perfect antidote to the drizzle of a dull December and a darkening world.
This year’s extravaganza is a panto mainstay – the evergreen Peter Pan, but not quite as Disney, or indeed JM Barrie, imagined it. Starring Ab Fab’s Jennifer Saunders as Captain Hook and the matchless Julian Clary mincing on as Seaman Smee, the cast also includes Palladium regulars Paul Zerdin, Nigel Havers, Gary Wilmot, and the simply wonderful Rob Madge as Fairy Tink who made us laugh and cry in his autobiographic tale My Son’s a Queer (But What Can You Do?).
This year’s offering struck a more poignant note, dedicated as it was to the late Paul O’Grady, who sparred with Julian Clary on the Palladium stage a number of times as his alter-ego, Lily Savage.
Naturally, Julian steals every scene he’s in with one outrageous costume after another and all the best gags – a tsunami of filth. Absolutely fabulous.
Our nephew Tom entered an amateur boxing competition for charity in honour of his grandmother – my mother – who died of cancer last year. And, of course, we had to be there for moral support and to eye up the sweaty men in silky shorts. The venue was the famous Troxy, a gorgeous art deco former cinema in London’s East End. First opened in 1933, it dodged the bombs during the Blitz when much around it was flattened by the Luftwaffe. Down the decades, the venue has been reincarnated several times and now provides a multipurpose home for an eclectic mix of weird and wonderful events.
It’s also pretty rainbow-friendly. As they say on their website…
In 2019 Troxy cemented its reputation as one of the flagship venues for LGBTQ+ led events. With a superb track record welcoming clients such as Sink The Pink, Ru Paul’s Drag Race and London Gay Men’s Chorus to name a few, Troxy worked hard to create a respectful and welcoming environment for everyone, ensuring that no one is subject to discrimination or harassment of any kind. All staff at the venue are highly trained to create a fully inclusive customer experience, from sensitive security searches to the use of gender neutral pronouns.
We met up with the family in a little hostelry called The Old Ship, a traditional East End boozer which also happens to be a local gay bar serving up drag with the real ales. The pub was full of pre-bout punters mingling with the afternoon regulars. Liam and I hadn’t supped there for twenty years or more, and it was wonderful to see it still thriving while so many others have fallen by the wayside.
Fight club was a suited and booted affair – no tie, no entry – and we were dressed up to the nines to match the rowdy crowd in their best wedding weaves. Chewing gum was banned. “Because it sticks to the carpet – worse than guns,” said the burly bouncer. Enough said.
The scene was set. It was a very butch do; you could almost taste the testosterone. Some bloke in a cheap suit was running a book from the men’s loo and we fully expected local gangster types to muscle in on the action. In fact, it was all good-humoured, despite the full-flowing booze and high spirits. Mind you, the debauchery going down in the orchestra pit looked like the last days of Rome.
The moment came for Tom to step into the ring. His opponent was huge. His mother looked worried. We all did.
Once the big fella threw a few punches, the ref stopped the fight. We were relieved but really proud of Tom. He gave it a go and raised a few farthings into the bargain. All’s well that ends quickly and with pretty-boy face still in one piece.
Our immediate neighbours at the Duke of York’s Theatre in old London Town were a trio of antique thesps with silver hair, floaty chiffon and silk scarves – very Sunset Boulevard – who were getting so over-excited by Backstairs Billy I thought we might have to ask if there was a doctor in the house. Liam got chatting to the classy lady in the pew next to him. She was an actress – retired, not resting, she told him.
“Theatre? TV? Films?” he asked.
“Ads, darling,” she said.
It turns out she was the face of Cadbury’s drinking chocolate back in the day.
And yes, I think this is her…
As we dropped into our seats on the top deck of the early morning workers’ express to Norwich, Liam said, “Okay Jack, roll up for a magical mystery tour.” I had no clue what was to come but went along for the ride anyway. Three hours later we were meandering through London’s theatreland, eventually joining the queue outside the Duke of York’s Theatre in St. Martin’s Lane.
Sneaky Liam had secretly booked tickets for a West End play I’d mentioned in a throwaway comment months earlier. The show, Backstairs Billy, is a comedy about the close relationship between Queen Elizabeth the Queen Mother and her faithful retainer of 50 years, William ‘Billy’ Tallon.
Set long after the dowager queen had been put out to pasture, the razer-sharp script cascades from belly-laugh slapstick farce to moments of real tenderness. The sparkling Penelope Wilton (The Best Exotic Marigold Hotel, Downton Abbey) and hunky Luke Evans (Beauty and the Beast) play mistress and servant. And they do it with great aplomb.
Billy cut a controversial figure in royal circles. The Queen Mother wasn’t the only queen he serviced. An infamous chaser of young men, Billy often sailed close to the wind at a time when it wasn’t quite cricket. The play waltzes around one such indiscretion when he was caught in flagrante delicto with a casual pickup in the garden room of Clarence House and almost got the boot. But the Queen Mother’s loyalty knew no bounds – apparently she loved her gays, as evidenced by the famous quote,
“Perhaps, when you two queens are quite finished, you could get this old queen her drink.”
Whether or not she actually said this we shall never know, but the line got the biggest laugh in the show.
Billy died in 2007 and, despite his notoriety, his funeral was held in the Queen’s Chapel at St. James’s Palace, and it was attended by more than 200 mourners, including lords, ladies and luvvies of stage and screen. Not too shabby for a boy from the wrong side of the tracks.
Perking the Pansies 